Oct 24

Oct 24 Film Review: Mid90s

Jonah Hill continues his evolution as an artist in his celebration of youth and confusion, Mid90s. For the film the first time writer-director cast young, non-actors (skaters) in lead roles, a risk that could have left the film a mess, but instead lends it authenticity.

The performance form lead actor Sunny Suljic as 13-year-old Stevie, is fabulous; he should continue to grow as an actor judging from his work here. Stevie comes from a troubled home where he undergoes- unbeknownst to his prostitute mother (Katherine Waterson), who is barely home - brutal and relentless beatings from his abusive, troubled older brother, Ian (Lucas Hedges). The troubled boy finds refuge in rebellion manifest by hip-hop (the GZA) and skateboarding.

Hill’s camera movements are slow and subtle as he weaves his way through the family dynamic, framing his characters in a style similar to the Japanese master, Yasujirō Ozu, with his eye on a deteriorating home life.

Navigating sun kissed SoCal, Stevie quickly finds himself among a group of young skaters, led by mesmerizing first timer Na-Kel Smith as Ray. The scenes with these two actors are often powerful as Ray is the only one to offer a bit of guidance to the young skater. The film really takes off from there as it less concerned with plot and allows the characters to wander freely through their boredom and angst.

There’s a memorable montage when the band of misfits attend their first party guzzling 40oz bottles of malt liquor, smoking blunts and have their first interactions with girls. While the party becomes less and less segregated, the kids move in and out of the social circles, the camera cutting perfectly to every cymbal hit in Herbie Hancock’s “Watermeon Man”. Jonah’s love of music shines throughout the movie. He cuts the frame with little idiosyncrasies that blend perfectly with the carefully curated soundtrack.

The film slowly unravels as we learn a bit about each of the skaters backgrounds and Hill allows his actors to be vulnerable, tapping into the angst ridden confusion of learning how to be yourself. But the film is not without laughs. Crafting dialogue that is full of life, insight and humor without feeling inauthentic, you can feel Hill’s presence permeating every frame.

I was like these kids. My days as a thirteen year old were full of getting high, drunk and being places where I shouldn’t have been. Running, hiding from cops, hoping your parents didn’t smell what you had been up to when you got home. Jonah identifies those fears and troubles allowing them to carry from one mistake to the next. Although he nearly boxes himself into a sentimental corner at the end, we forgive him because the rest of the film is so full of joy and wonder.

There’s no grand narrative at play here, just young kids trying to figure it out.

You can watch a trailer for the film here.